This is a vintage audio demo of the Sennheiser Vocoder VSM201.

The Sennheiser Vocoder was famously used by Herbie Hancock.

via AlkisGear:

Original Sennheiser Recording of the 1978 VSM201 Vocoder

Jeki Zaborov in Zimmer Tel Aviv peforms Blow Job V, by Wojciech Kosma, a performance art piece that explores microphone feedback, modulated by the proximity of the performer’s mouth.

via thejobblow

The latest performance of Wojciech Kosma’s Blow Job, by Dganit Elyakim in Uganda Jerusalem.

The piece explores microphone feedback, modulated by the proximity of the performer’s mouth.

To some, Kosma’s work is cutting edge audiovisual performance art. For others, it’s wankery for intellectuals.

Leave a comment with your thoughts!

Here are the instruction for performing Kosma’s Blow Job:

A microphone is used to simulate a fellatio. It’s connected to a sound system and adjusted to a level, such that an audio feedback will appear if it’s placed inside a person’s mouth (this can be achieved with no modi?cations to the equipment, but ?ltering out of the high frequencies on the mixer helps to obtain a higher level). The effect should be easy to control for the person – feedback should appear/disappear quickly when putting microphone inside/outside of the mouth. Different levels, ?ltering and position of the speakers and microphone should be tested, also taking in the account the in?uence of audience on the acoustics of the room.

This is the position of the person and the microphone (mounted on a stand). Movements and rhythm should mimic the person’s style of performing the blow job. He/she should use different techniques and positions to bring out different tones and volume. Feedback frequency will change depending on which part of the microphone is covered. Usually this position will produce a higher frequency (the volume can be changed by opening and closing lips) and this position will produce a lower frequency. Any accompanying noises like breathing or the teeth or the tongue sounding on the body of microphone should also be audible. Similarly, the use of hands or any other body part should be used as normally in the fellatio.

The duration is not de?ned. A short condenser shotgun or similar microphone type should be used.

The effect will differ with various sizes of speakers and (but to a lesser degree) of ampli?er and mixer.

About Wojciech Kosma

Wojciech Kosma lives between Berlin and London, working between art and composition. His artworks and performances are often spatial, sonic, obliquely interactive and poetic, creating speculative aesthetic interventions in public and gallery space. He has exhibited, undertaken commissions and residencies and performed widely in a variety of institutions and arts organisations, as well as informal networks of cultural producers. Most recently in MOMA Warsaw and Whitney Museum of American Art in New York.

oubliettezombie demonstrates how to turn your thumb into a pad synth sound:

In this video, I take the sound of my thumb moving around on the microphone (Shure SM57) and turn it into an atmospheric pad sound.

The most important step in this process was scanning through the recorded sound and setting the loop points in such a way that the source sound became more interesting. After that, things like filters, envelopes, FM, etc. can be applied to really give it life.

All manner of found sounds contain individual waveforms that are far more exotic and complex than the basic waves found in synthesizers. Sometimes this is desirable, sometimes it is not.

If you know of other interesting examples of sound design, leave a comment!

The MXL USB.009-24 features 24-bit A/D and D/A converters with up to 96 kHz recording capability. They recommend the mic for home recording, podcasting, as well as adding dialog to business presentations and other multimedia projects. They also recommend the mic for re-recording voice tracks to accompany video shot in the field.

Compatible with both USB 2.0 high speed and USB 1.1 protocols, the MXL USB.009-24 is a plug and play device.

The MXL USB.009-24 ships with a desktop microphone stand, a mounting clip, a flight case, cleaning cloth, one USB cable, an owner’s manual and an applications guide.

The MXL USB.009-24 carries a MAP of $399.95. The product is expected to be available Spring of 2008.

Details:

The MXL USB.009-24 is designed as a general purpose studio condenser microphone. It is equally suited for voice applications (both vocals and dialog) and makes a compelling choice for recording acoustic instruments as well as amp miking. The MXL USB.009-24 features a 32 mm pressure gradient condenser capsule with a gold sputtered diaphragm. Combined with its 24-bit A/D and D/A converters, this versatile new microphone delivers a full bodied sound with pristine highs, a smooth and silky midrange, and a rich low-end presence. The microphone supports recording with sampling frequencies up to 96 kHz.

MXL’s new USB.009-24 offers a comprehensive set of controls that enable the microphone to integrate into any audio environment. With its 1/8th-inch stereo headphone jack and adjustable level control, the USB.009-24 provides a convenient means to monitor during recording—with zero latency, bypassing the computer entirely. For added convenience, the MXL USB.009-24 even has a mix control for adjusting the balance between playback (the audio stream from one’s computer, for example) and the source signal via the microphone’s capsule—providing a fully self-contained monitoring solution for multitrack recording. Capping the microphone’s feature set is an analog gain control, for adjusting the level of signal from the capsule that feeds into the computer. With its blue LED capsule illumination, the MXL USB.009-24 provides visual confirmation that the microphone is powered and active.

Wayne Freeman, MXL’s Global Sales Manager, commented on the company’s latest microphone offering. “The new MXL USB.009-24 is unquestionably the most advanced USB microphone our industry has encountered. With first-class sound quality and a comprehensive assortment of features and accessories, everything one needs to start recording with a computer is included in this package. The latest advances in digital technology, along with years of research, have enabled us at MXL to produce the audio quality normally associated with expensive multi-channel computer interfaces within the body of this microphone. What this means for the end user is a simple, elegant, all-in-one recording solution that is completely professional.”

MXL 990 USB Stereo Condenser Microphone.

Description:

With electronics based upon the MXL 990—the world’s best selling studio condenser microphone—the MXL 990 features two gold diaphragm capsules in an X/Y stereo configuration and is designed to deliver rich sound with excellent spatial imaging.

The MXL 990 USB is a Universal Serial Bus instrument that connects directly to a computer without the need for external mic preamps. Featuring support for USB 1.1 and 2.0, the microphone includes gain adjustment settings via a built-in three position attenuation switch.

The microphone is optimized for capturing a wide range of musical performances—both vocal and instrumental—and delivers broad spatial imaging, thanks to its 90-degree X/Y stereo pick-up pattern. The mic e also has a maximum SPL (Sound Pressure Level) rating of 137 dB—making it an good choice for capturing loud instruments such as trumpet, saxophone, or electric guitar.

The microphone features twin gold sputtered capsules (20 mm each) and this pressure-gradient stereo condenser microphone features a 20 Hz-20 kHz frequency response. The microphone also provides a 3-position, switchable attenuation pad with settings for Hi (0 dB), Medium (-5 dB), and Lo (-10 dB), making it easy to configure the microphone to virtually any sound source. The digital section of the microphone features a 16-bit Delta Sigma A/D converter with sampling rates of 44.1 kHz and 48 kHz. Protecting the instrument’s capsule is a heavy-duty wire mesh grill with an integrated pop filter, and behind the wire mesh, there is an LED activity light to aid users in properly orienting the microphone toward the sound source.

The MXL 990 ships with a travel case, a mic stand adapter, a shock mount, a 10-foot USB cable, an owner’s manual, and an applications guide.

“For capturing live performances, this microphone is ideal, as its polar pattern enables the microphone to deliver a broad spatial stereo image,” said MXL’s Wayne Freeman. “The ability to actually hear the placement of performers throughout the stereo field is, unquestionably, one of this microphone’s most significant attributes.”

The MXL 990 USB Stereo Condenser Microphone carries an MSRP of $199.95. It is scheduled to ship Q3 of 2007.

Audio-Technica has introduced a couple of stereo shotgun microphones aimed at the high-end broadcast and production environment.

The new BP4027 and BP4029 Stereo Shotgun models are based on models that A-T originally developed for the Sydney Olympics in 2000. Designed for broadcasters, sound recordists and videographers, these phantom-powered models feature independent line-cardioid and figure-of-eight elements configured in an M-S (Mid-Side) arrangement. Each provides a switch-selectable internal matrixing system offering a selection of wide and narrow stereo (L/R) output or M-S output. A switchable low frequency roll-off filter helps minimize the pickup of unwanted low frequency noise. The models differ from one another primarily in length (BP4027 15″ long and BP4029 9″ long); they both feature a lightweight rugged design, ideal for on-camera use.

The BP4027 and BP4029 Stereo Shotguns offer an alternative to conventional stereo microphone techniques in applications such as field acquisition, sound effect recording, live events and news gathering. The microphones allow sound recordists the choice of selecting a left-right stereo output (wide or narrow) via the microphone’s internal matrixing system or choosing discreet Mid-Side signals for later manipulation, a flexibility not available from any other manufacturer.

Part of Audio-Technica’s newly revamped Broadcast & Production line, the BP4027 and BP4029 are fully RoHS-compliant — free from all substances specified in the EU directive on the reduction of hazardous substances (RoHS).

These new stereo shotgun microphones will be available Summer 2007. The U.S. MSRP is $1,100.00 each for the BP4027 and BP4029.

Description:

Not only the name Phanthera relates to the big wild cats. It appears dynamic, powerful, ductile and charming. It is hard to put its sonic character into simple words. Therefore Brauner emphatically recommends prospective buyers give the Phanthera a serious try within their well-known studio environment.

All microphones are entirely manufactured in Germany.

Technical Data:

• Acoustical Principle pressure gradient transducer
• Equivalent Noise 11 dB A (IEC651)
• Signal to Noise 83 dB (1Pa/1KHz-Cardioid)
• Sensitivity 33mV/Pa-Cardioid
• Polar Pattern Cardioid
• Frequency Range 20 Hz-22 KHz
• Circuit Design Solid State ( FET )
• Maximum SPL 142 dB SPL @ 0.3 % THD
• Power Supply 48V Phantom Power
• Accessories Suspension, aluminium case, Vovox Sound Conductor

The USB-24M is designed for recording vocal tracks or voice-overs on your computer or for online communication. The mic features a dynamic neodymium element with cardioid pick-up, and the AD converter has 24-bit, 96KHz sampling rate. The mic features a heavy gauge mesh grill and sturdy construction.

The USB-24M is shipping now and lists for $69.95.

The new MXL.008 features a large diaphragm that delivers a big, rich sound characteristic of studio and broadcast microphones. Unlike most studio condenser microphones, however, the MXL.008 is a USB (Universal Serial Bus) instrument that connects directly to a computer without the need for external mic preamps.

Featuring support for USB 1.1 and 2.0, this easy-to-use microphone includes gain adjustment settings via the built-in three position attenuation switch.

As a plug and play device for both Windows and Macintosh, it requires no special drivers whatsoever. Simply connect the microphone’s USB cable to a computer’s USB port, and installation is quick and effortless. In addition to recording instruments or voice for home recording applications, the new MXL.008 is ideal for podcasting or adding dialog to presentations and other multimedia projects. It is also capable of opening new possibilities for radio and news broadcasters and for location recording.

Unlike electrets or dynamic microphones typically used for computer work, the MXL.008 has an extremely smooth, natural sound typical of what one would hear on a professionally produced CD or radio show. The MXL USB.008 is a professional, large capsule (35 mm) pressure-gradient condenser studio microphone featuring a 20 Hz-20 kHz frequency response, plus a 3-position, switchable attenuation pad with settings for Hi (0 dB), Medium (-5 dB), and Lo (-10 dB), making it easy to configure the microphone to virtually any sound source. The digital section of the microphone features a 16-bit Delta Sigma A/D converter with a sampling rate of 44.1 kHz and 48 kHz. Protecting the instrument’s capsule is a heavy-duty wire mesh grill with an integrated pop filter.

In addition to the protective grill that guards the microphone’s capsule, the new MXL.008 ships with a travel case, a desktop microphone stand, a 10-foot USB cable, windscreen, an owner’s manual, and an applications guide.

The MXL.008 USB / Cardioid Condenser Microphone carries an MSRP of $199.00 and is available now.

Designed for computer-based field and studio broadcast and recording applications, the SPS200 offers software plug-in A-Format to B-Format conversion, plus stereo and surround sound decoding and manipulation in place of an outboard control unit.

The most affordable of the SoundField Technology product range, the relatively lightweight SPS200 A-Format microphone uses the same established SoundField multi-capsule technology as the high-end models and offers many of the mpressive features of the company’s more expensive microphones. The SPS200 provides the ability to capture 5.1, 6.1, 7.1-channel audio and simultaneous stereo with variable width and to continuously vary the effective polar pickup pattern and orientation without moving the microphone.

The SPS200 comprises four low-noise, studio grade condenser capsules and weighs-in at less than 8 ounces (220 grams). Offering standard 48V phantom power, compatibility with all equipment is ensured through a provided short breakout cable that offers four line level outputs on balanced XLR connectors.

The first SoundField microphone to not require an accompanying outboard control unit, the SPS200 A-Format microphone relies on software for all format conversion, decoding and manipulation. The SoundField Conversion Lounge plug-in handles A to B-Format conversion and the SoundField Surround Zone plug-in looks after all aspects associated with stereo and surround sound decoding and manipulation. The software is compatible with Digidesign Pro Tools|HD and all PC and Mac DAW platforms that support VST Multichannel, including Nuendo, Cubase and Soundscape.

In addition to A-Format to B-Format conversion, the software supports many other features, for example allowing for 360-degree rotation and ±45-degree tilt control. A Zoom function gives the effect of zooming in or out from the sound source while End Fire re-orients the mic for end fire use rather than the more standard side address. An Invert function maintains the correct three-dimensional perspective in both surround and stereo when the SPS200 is suspended upside down above the sound source.

The software offers six modes for surround sound applications, including three 5.1 presets plus 6.1, 7.1 and 8-channel presets, with variable control of the front and rear width and rear polar patterns. In stereo mode, the software offers adjustment of polar patterns, stereo width and a high-pass filter as well as a Mid/Side (M/S) encoder.

Soundfield did not include pricing in its announcement.

Unfortunately for the mere mortals among us, the mic lists for $6,000.

Designed to meet the needs of professional and semi-pro users in professional music and broadcast applications, the UM930 features two large (1″) diaphragms mounted on separate elements, allowing for individual control over the applied voltages. This allows for the 5 selectable polar patterns (omni, wide-cardioid, cardioid, hyper-cardioid, and figure-8) to be controlled with greater accuracy resulting in improved spatial imaging. The UM930 is self-muting when switching polar patterns, and is internally shock mounted to dampen vibrations.

The UM930 is powered via standard 48V phantom power, utilizing an optical DC to DC converter which results in 135dB of dynamic range, an incredible maximum SPL rating of 142dB, and reduces overall self-noise to 7dB-A.

Two models will be available: A standard 3 pin XLR version with on-board polar pattern selector (UM930), and a 5pin XLR version (M 930 Twin) featuring fixed dual channel operation, allowing the engineer to have true single point source control with unlimited pattern variations.

No special software or drivers are needed, just plug in to your portable or desktop computer, set your preferences and enjoy instant studio quality recordings.

The mic uses dual gold diaphragm capsules in a XY pattern together with low noise electronics and the latest in enhanced digital conversion techniques for pristine audio quality.

The new mic opens up new possibilities for direct stereo recording with a standard computer such as live performances in the professional, school and home environment. It’s also a very exciting tool for podcasts, multimedia, news and broadcast applications using portable computers for remote stereo recording of concerts, lectures, or even documenting outdoor sounds in stereo for film and TV backgrounds.

The MXL USB.007 ships with a carry bag, a desktop mic stand, mic stand adaptor, a 10-foot USB cable, wind screen, owners manual and an applications guide.

The MXL USB.007 carries an MSRP of $ 199.00.

Combining a Sennheiser capsule with a broadcast-quality Flash recorder, the HHB FlashMic has become established as a portable recording device of choice for international broadcasters.

Now HHB has expanded the FlashMic range with the introduction of a new cardioid version – the FlashMic DRM85-C – to accompany the original, omni-directional FlashMic DRM85.

Both FlashMic models share the same feature set, which includes 1GB Flash memory for up to 18+ hours recording, USB audio data transfer, a high-quality preamplifier with full manual or automatic gain control (AGC), an illuminated LCD display and nine user templates which can be configured externally using the FlashMic Manager software supplied.

As HHB Managing Director, Ian Jones explains, the DRM85-C was developed in direct response to customer requests. “Some of our broadcast users have been requesting a more directional FlashMic specifically for use in environments in which there are high ambient sound levels, such as press scrums and conflict zones. We’re delighted to respond with the cardioid FlashMic DRM85-C.”

Radio journalists cite rugged build quality, ease-of-use, fast file transfer and instant, one-button recording among the key reasons for the FlashMic’s success.

“When news breaks, the FlashMic provides a convenient, all-in-one, portable recording solution with no fiddly cables or connectors,” continues Jones. “And it’s every bit as easy to transfer audio files to a laptop for editing and onward transmission.”

Features:

• High-resolution 2 In / 2 Out USB audio interface with plug-and-play for Windows XP and Mac OS X operating systems
• Studio-class 5-input 2-bus mixer with premium mic preamp and 2-band “British” EQ
• Dynamic broadcast-style microphone with 2-stage pop filter
• High-performance studio headphones with ultra-wide frequency response
• Table microphone stand, XLR microphone cable and 2 stereo RCA cables
• Powerful DAW software (Kristal Audio Engine multi-track sequencer and Audacity audio editor)
• Comprehensive podcasting software (Podifier, Juice, PodNova, Golden Ear)

The Podcastudio is expected to ship in 2nd quarter for US $149.99.

2007 Winter NAMM Show: Alesis introduced their USB Mic Podcasting Kit.

According to the company, the USB Mic Podcasting Kit allows even the most inexperienced users to quickly record audio into the computer and have their podcast heard on the Internet. Just plug the USB microphone into your computer – the microphone is a plug-and-play device, so there are no drivers to install.

The kit includes Audacity for recording your audio and is compatible with both Windows and Mac operating systems. Once you have finished recording your podcast, the custom Alesis Podcast website allows you to upload your audio and will host your podcasts for free for 30 days.

The USB Mic Podcasting Kit provides 16 bit / 44.1-48kHz audio. A desktop microphone stand and headphones are also included in the kit.

Blue Microphones

The Snowball has been popular with computer musicians because it is a relativley inexpensive USB microphone.

“In addition to its dual capsule design, these new applets add to the Snowball’s ability to record just about any source you put in front of it,” said Skipper Wise, President and Co-Founder of Blue Microphones. “And with ever expanding distribution of the mic, more computer users will have access to this high quality audio tool.”

Two new free firmware applets for the Snowball let you adjust gain levels on a Mac or PC for greater control in recording loud or soft sources. Download the low gain applet for loud sounds (like drums, electric guitars, louder singing). Download the high gain applet for quieter sounds like speech, podcasting, internet telephony, or recording sounds from a distance. You can also switch back and forth as often as you need.

More information is available at the Blue Mic site.

Vocomotion has announced the release of The Thumper TH70, the latest update in The Thumper series of throat microphones designed for vocal percussionists, beatboxers, and bass singers.

Like previous Thumpers, this new model is designed to pickup throat sounds at the source, optimizing the bass response by filtering everything but deep, thumpy frequencies, using Vocomotion’s active filtering technology.

“I’ve known for a long time that the price of the Thumper mics was too high for the average vocal percussionist,” said Freddie Feldman, creator of The Thumper. “I’ve streamlined the manufacturing process and redesigned the collar completely, bringing the costs down significantly. Now performers at all levels will be able to enjoy the improved bass response that The Thumper offers.”

The TH70 features a new water-proof collar assembly, new removable mic strap, and a reduced retail price. The new Thumper TH70 throat microphone is available from Vocomotion with a retail price of $250 (USD).

More information is available at the Thumper site.

Samson

Available as a matched pair, Samson CL2s are true capacitor condenser mics that feature a high pass filter and a 10dB pad.

Providing maximum flexibility for a variety of applications was one of the main design goals. Each CL2 ships with a pair mic of elements that can easily be switched to alter the pickup pattern, either omni-directional or cardioid. The elements feature three micron, gold-sputtered diaphragms. The mics are designed to handle SPLs of 141 dB (cardioid) and 138 dB (omni).

The CL2 is ideal for recording or miking orchestral instruments, acoustic guitar, piano, overhead miking of drums and cymbals and of vocals.

Providing great value and usability, the CL2s come in a durable, lightweight aluminum case with a pair of mic clips, pop filters, windscreens, shockmounts and the cardioid and omni capsules.

More information is available at the Samson site.

The mic uses two large-sized true electrostatic JZ capsules. The large, rotating spherical metal mesh heads can be easily positioned, and the microphone includes an integrated, original construction elastic studio suspension with swivel mount.

Pricing and specs have not been released yet.

More information is available at the Violet Design site.